Desiree Xiane Music Research 10000h

Dumangas National High School
SPECIAL PROGRAM IN THE ARTS

Ilaya 1st, Dumangas, Iloilo
Chapter I
INTRODUCTION OF THE STUDY
Background of the Study
A group of people known as Panay Bukidnon live in highland
settlements in all four provinces of Panay Island, in the
Philippines, and engage in swidden cultivation. Epic chanting known
collectively as Sugidanon is one marker of ethnolinguistic
distinction that separates them from lowland populations due in part
to use of an “archaic Kinaray-a” or binukidnon lexicon and the
perception that chanting is a timeless ethnic tradition. Since the
1960s, several Filipino anthropologists have demonstrated a keen
interest in the narratives, collecting and publishing them for
academic and public consumption. Additionally, chants are currently
taught to Panay Bukidnon children in anethnopedagogy program known
variously as the Balay Turun-an, School of Living Tradition (SLT),
or GAMABA Training Center.
Sugidanon or Epic Chanting has long been a popular method of taking
a leisurely stroll through the most remote communities of the rugged
Central Panay. With the introduction of transistor radios in the
late 1950s, its audience rapidly decreased. Following the 1960s and
1970s and their exposure to contemporary audio technologies, in a
lowland area. introduction of public education and Christianity led
much to its collapse because babaylan, who were chanters, The
majority of ex-binukot (kept maiden) were deterred from continuing
because of proselytization.
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Inspired by the story in the Epic of Sugidanon the researchers
wished to create a Ballad composition artwork performing the song
about Derikaryong Pada Story.
Theoretical Framework
This study uses the scheme of Creative Research proposed by
Dr. Evelyn Sorolla (2012). According to her, “Creative Research
method is used for production of creative outputs of artwork using
Input-Process-Output-Evaluation processes validated through
triangulation technique.”
Assumptions
The study rests on the assumptions that:
A ballad composition is a song in poem form in which the
lyrics are plot driven. It can either be dramatic, funny, or
romantic.
Hiligaynon was the language used to better express the emotion
involved in the Triangle-love story of Derikaryong Pada.
2
Schematic Diagram
INPUT PROCESS OUTPUT
Research Input Research Method “PADAUG-DAUG: A

competition of
Forms, origin and - Internet retrieving the
characteristics heirloom sailboat in
Surfing
a ballad”
of ballad music - Library Method
Production
Process
Production Input
- Gathering of EVALUATION
Keyboard and data
Guitar
- Interviews Evaluation
- Writing of
lyrics - Oral defense
- Notations - Thesis
- Consultation critique
- Art, Recital
Figure 1. A Schematic Diagram showing Input, Process and Output of the study.
Purpose of The Study
This study will be conducted in order to create
Specifically, this study aims to:
1. To highlight the struggle of their love
2. Write lyrics based on the gathered informations.
3. To depict the adventure of retrieving the sailboat through a
musical performance
4. To create a song using two or more genres
5. Defend the art production with the research panel and art
critic.
6. Perform the produced composition in front of the panel and
music critic.
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Significance of the Study
The results of this study may hopefully benefit the following
persons:
Amateur Singers/Musicians, this study may help them to create
a song related to the story of Derikaryong Pada.
Teachers, this study may provide them resources for teaching.
Aspiring singers /composers, this study may help them compose
a song combining major and minor chords.
Music Majors, this study may encourage them to create a song
using a ballad genre.
And lastly to future researchers, the result of this research
may serve as a reference for their future studies.
Definition of Terms
To Facilitate understanding of the study, the following key
terms were defined conceptually and operationally:
Views: To think about (someone or something) in a particular
way.
Kadalag-an: It means “victory’’ and it symbolizes the triumph
of a municipality that turned into a city, against the adversities
and struggle for peace, progress and the attainment of its vision.
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Scope and Delimitation
This study aims to compose a ballad song combining major and
minor chords and to compose a lyrics about the love triangle story
of Derikaryong Pada.
Creative Research method was used in this paper. Triangulation
process was used to gather information. The medium used in the
production is Hiligaynon in a ballad form.
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Chapter II
REVIEW OF RELATED LITERATURE
Conceptual Literature
The Sugidanon (Epics) of Central Panay
Alicia P. Magos, Ph.D. U.P. Visayas Miag-ao, Iloilo
My first trek to the mountains of Central Panay took place in 1992
when I was granted a sabbatical leave by the U.P. Visayas to record
an epic with some funding from the French government. I visited
Garangan, a small barangay of 120 households situated at the
boundary of Calinog, Iloilo and Tapaz, Cadiz. There, I was
introduced to a 73 year old woman Anggoran (Christian name Preciosa;
“Susa” Caballero, a shaman-curer who turned out later to be the
chanter of Panay Epics referred to us the sugidanon (from sugid, “to
tell”).
My initial research visit to Garangan became a 4 month
research activity from August to November 1993. Brg. Garangan was
then a red alert area, being an NPA stronghold area for 20 years
(1965-1985). During my visit to that barangay I knew that some CAFGU
(Civilian Arm Forces Geographical Unit) members. I was also told
later by my chanter’s daughter that during my first night in that
place I was being discretely monitored by an army detachment officer
assigned to that place. However, the chanter’s daughter, despite
that it was only our first meeting, vouched for me to secure my
safety. That started my almost 10 years odyssey of recording and
translating the Panay Epics, from the original archaic language to
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Kinaray-a, Hiligaynon, the National language and even the English
language.
Recording 2 epics with the original chanter, Anggoran, took
two months. An artist at heart, she would only sing when inspired
and would wake us up in at 4:00 in the morning. After she died,
there were two more unrecorded epics which she had mentioned
previously. Little did I knew that there were eight more to be
discovered and much bigger amount is needed to make the work of
completion lighter and easier.
The following year, April 12, 1994, not contented with the
result of six days trek to Lambunao, Iloilo which shielded only the
identification of a few chanters, I arranged four another mountain
trek of ten days to the Halawadnon and Pan-ayanon communities in
Calinog, Iloilo and Tapaz, Capiz. I wanted to know then, the extent
of epic distribution and to see for myself the heartland of Dr. F.
L. Jocano’s “Sulod Society”.
That trip took us to the rough terrains of Central Panay and
with me were two female assistants, a guide and two baggage
carriers. We passed by paths trodden only by wild boars. Those paths
were shorter but they were very tough as we would step on thorns and
get cut by tall sharp grasses. Overtaken by physical tiredness of a
seven our walked we would rest in the nearest house of the barangay
and fell asleep in exhaustion. Then, we would wake up at dawn and
start trekking to escape the scorching heat of the sun.
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Finally, on the tenth day, we walked back to the nearest
commutable road and took a jeepney ride going home. We passed by a
total of 13 barangays and sitios during the trek. We were exhausted
to the limit but our efforts were nonetheless compensated because we
knew the extent of epic dissemination, who the best chanters were
and the names of the Panay Epics. They were 10 in all-Tikun Kadlom,
Amburukay, Derikaryong Pada, Balanakon, Kalampay, Pahagunong,
Sinagnayan, (Pagbihag kay Sinagnayan), Humadapnon sa Tarangban, 2
Nagburuhisan, and Alayaw. The last epic was the latest to be
identified and this was only discovered when we were translating the
epics to the nearest language.
Setting
The mountain dwellers of Central Panay have for centuries
resisted various forms of foreign aggression by moving to the
interior and more remote areas of Panay Islands. Referred to by
lowlanders as Bukidnons or Sulods (see Jocano, 11968), they refused
to be under Spanish (1560-1898) and American (1898-1946)
colonization. They called themselves tumandok (literally “native
born”) or Pan-ayanon, the later referring to their being in areas
near and around the Pan-ay river. Today, despite the inroads of
modernization and other forms of cultural assimilation, they still
retain some distinctive culture as shown in their singing or
chanting of the sugidanon, a term they use for the long verbal
narrative.
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In the past the mountain peoples of Central Panay defined
their territory and distinguished themselves as one kadugo (kindred
group), by reference to two major rivers systems of the island of
Panay. These are: Pan-ay River, Halawod (Jalaur River) and Akean
River. Those people who lived in the headwaters of pan-ay were
referred to as Taga- Pan-ay or Pan-ayanon; and those who stayed
close to the headwaters of Halawod were known as TagaHalawod or
Halawodnon and Akeanon for those who stay near the river of Aklan.
Pan-ay and Halawod both originate from Mt. Baloy, the third
highest peak of the Madiaas mountain range in Central Panay. The
latter is a group of mountains that runs north to south of Antique
province and separates it from the other provinces of Panay island.
These twin rivers have separate courses; Pan-ay river traverses the
Bukidnon barangays in the interior of Tapaz, Capiz, and passes
through the towns of Pontevedra and Pan-ay (probably named after
Pan-ay River) into the Visayan Sea; Halawod River traverses the
barangays in the interior of Calinog, Iloilo and has its outlet in
the town of Dumangas which faces the Guimaras Strait.
How different are the two groups, the Pan-ayanons and
Halawodnons from each other? Culturally, there is hardly any
difference for they are of the same ethnic stock, with similar
ecological niches and common traditions. The Pan-ayanon kindred
group, however, recognizes as their ancestor ascertain Dim-ano, a
brave dalaganan (a man believed to have innate supernatural powers)
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who fought against the Sia, mercenaries of the Spanish colonial
government way back in our past history.
On the other hand many Halawodnon recognized Birdin a
mountain leader at the turn of the century,p as their clan hero;
like Dima-ano, Birdin who was preceded by OtoValentin, another
renowned leader roaming the mountain areas of Maasin and Leon
(Iloilo), also fought against the Spanish soldiers and won some
battles. Both Dima-ano and Birdin enjoyed wide kin support and had
many followers. Legend tells us, however, that their victory was due
to their supernatural powers. Aside from being known for their
valor, the two clan heroes were known to have seven wives each, a
testimony to their superior social and economic standing in a
community which considers polygamy the norm.
For generations, the Pan-ayanon and the Halawodnon were at
odds with each other. Their enmity and the clan distinction was
heightened by the geographical barrier of the two river systems.
Whenever there was news that some people from Pan-ay had entered
Halawod territory, or vice versa, there would be an alarm and the
men would gather to protect themselves. But the 3 inhabitants of the
interior mountains between the two rivers had chances to know one
another as they moved in search of new kaingin; as much, they were
as hostile to each other as mountain dwellers living on opposite
banks of the two rivers.
When a fight occurs and result in the death of a member of
one party, the aggrieved goes to a managhusay (arbiter). The latter
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consults each party separately in order to arrive in the mode of
payment, which is usually in the form of manggad or wealth like
sanduko (bolos) or agong (gongs).
Today, older people are still conscious of their territorial
affinity as taga-Pan-ay or tagaHalawod. Frequent movements in the
past as shifting farmers have brought the two groups in contact with
each other, and intermarriages between them have taken place. But
beyond and opposite direction of the river banks, no intermarriages
have taken place, because the movement, in the past, was away from
the river boundaries.
Younger Bukidnons, however, seem to have forgotten the feuds
of the past. They are aware that their deceased dalagangan ancestors
have criss-crossed mountains in their travels and in the process
have taken as their wives several women on both sides of the river.
The clan boundary of the past had gradforually waned. The clans have
now become blood kin.
EPIC CHANTING
The chanting of epics was an important feature of the social
life of the Pan-ayanon. The adventures of Humadapnon, Labaw Donggon,
Balanakon, Sinagnayan and other Pan-ayanon warrior constitute the
ten epics which I have recorded and transcribed, with the help of my
staff. Only one or two of these Sugidanon are generally known to
younger chanters today. Although epic chanting is known to both Pan-
ayanon and Halawodnon mountain dwellers, it is almost gone among the
latter. Labaw Donggon, a first generation hero of the epic, is more
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popular among the Pan-ayanon than Humadapnon. However, older
chanters close to the age of 70 and above usually known the epics
about both heroes.
Summary of the Epics
Tikung Kadlum (Book 1) opens with Datu Paiburong and his
brother Damara-og going on a hunting trek. Tikung Kadlum, a dog
possessing extraordinary powers, leads them into the forest and they
come across a tall-strange looking bamboo tree referred to us a
buriraw nga kawayan. Paiburong cuts the bamboo tree owned by
Makabagting, a man eating witch and his sister Amburukay. Furious,
the witch demanded that Paiburong’s two daughters be given as
payments for the crime.
Amburukay (Book 2) tells of Matan-ayon and Suranggaon who were
kept as adopted daughters of Amburukay. They were locked in a golden
chamber or burukutan (enclosed structure) and Amburukay vows that
her daughters will marry only those who succeed in steeling her gold
pubic hair.
One day Labaw Dunggon, a courageous man and a good guitarist
breaks one of his guitar string. Hearing about Amburukay’s pubic
hair being a good replacement, he undertakes the theft 4 and is
successful. How Amburukay searches for the culprit and punishes him
is a hilarious part of the story.
Derikaryong Pada (Book 3) Before Matan-ayon, the binukot
daughter of Paiburong and Bulawanon was born, she had already been
betrothed to Labaw Dunggon, the son of Duranuon and Paubaya. As a
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mark to that promise, her father Paiburong, had been given a gold
medallion by the parents of her husband. But when she was of age she
was pursued by Sinagnayan, a brother of Paglambuhan, a renowned
witch who had stolen the heirloom sailboat of Matanayon’s parent.
Whoever among the suitors can retrieved the sailboat and give it
back to Matanayon’s parents will have her hand in marriage. Now
Labaw Dunggon resists this faith.
Balanakon (Book 4), a dalagangan (man with extraordinary
powers), is convinced by Taghoy a spirit messenger, (who can appear
like a dwarf) to fight against Labaw Dunggon to win Matan-ayon.
While on the voyage Balanakon is halted by Sarandihon, Labaw
Dunggon’s brother. That determined to stop Balanakon’s plan,
Sarandihon engages Balanakon in a fight. Owing to his greater power,
Balanakon has an edge over Sarandihon Labaw Dunggon is fetch by
Taghoy to help his brother. Despite the combined efforts of Labaw
Dunggon and Sarandihon, they cannot defeat Balanakon but Laonsina
intervenes to stop the fight.
Kalampay (Book 5) introduces Masangladon, a man of god-like
attributes from the underworld, who devises a plan to abduct Matan-
ayon, the beautiful wife of Labaw Dunggon. He causes a tortoise to
become an island full of fruit bearing trees so Matan-ayon can be
enticed to pick fruits. True indeed, after taking a bath she was
intent in picking fruits that she does not notice that a tortoise is
taking her to the panibyungan, the source of all water flowing down
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to the underworld. There Masangladon lives. What happened next is an
exciting part of the story.
Pahagunong (Book 6) also titled as ‘Pawikan’, tells about the
sad fate of Labaw Dunggon (“Abaw”) who was transformed into a giant
turtle by Padilagang Bulan, one of his wives: His senior wife,
Matan-ayon and Paubari (Abaws’ brother) follows the tortoise as it
swims to the deep sea. Unknown to them, however, Pahagunong, who is
a deity staying in the heaven sees the beauteous Matan-ayon and is
captivated by her beauty. What happened when the two men meets,
Pahagunong and Paubari, is an exciting part of the story.
Pagbihag ni Labaw Donggon kay Sinagnayan or Sinagnayan (Book
7), opens with a scene where Matan-ayon convinces her husband, Labaw
Donggon (Abaw) to fight Sinagnayan so he could have a second wife.
Sinagnayans’ wife, Pinailog sa Pinggan (also Matan-ayons’ sister).
On his way to Sinagnayan, Abaw passes by the territorial waters of
Sarandihon who challenges him to a fight. Sarandihon was about to
behead Labaw Donggon but Laon Sina, the arbiter arch goddess,
appears to stop him as they are brothers. The rest of the story will
tell what happens to Abaws’ original pursuit.
Humadapnon (Book 8), the longest of ten epics and has four
episodes woven in a sea journey.
Episode 1, Humadapnon sa Tarangban, commences with the sea
journey of Hamudapnon, in search of Nagmalitong Yawa, the beautiful
daughter of Matan-ayon, who alone can match the status of Humadapnon
and is worthy to be his wife. He along with him his brother,
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Dumalapdap 5 and they ride in a golden boat or biday. He is,
however, lived by binukot (well kept maiden) engkantos and escaped
in the Tarangban (an enchanted cave). How he is retrieved after
seven years is the exciting part of the story.
Episode 2, Pagbihag kay Paglambuhan narrates Humadapnon’s
quest for Mali’s hand where he has to pass the test of retrieving
Kamangyan, and heirloom boat stolen by Paglambuhan before he can
marry Mali. How he fought Paglambuhan is breathtaking part of the
epic.
Episode 3, Paghungaw ni Humadapnon kay Mali, starts with
Humadapnon who invites Mali (disguised as Sumasakay) to go with him
to Mali’s parents in Halawod. But mali tells him that he should
first sail and drop by and stay with the beheaded man’s wife.
Humadapnon, however, stayed quite long with Pinatuyang Tun-og and
Mali feels very jealous. The rest of the story will tell of Mali’s
revenge.
Episode 4, Ginlawan narrates how Dumalapdap (the younger
brother of Humadapnon) pursued Pinasibyang, Alon, daughter of
Minayonmon, the buruhisan (a man/woman endowed with extra human
powers) after the hungaw (traditional wedding) of Humadapnon.
However, the latter did not give her consent. Humadapnon, therefore,
suggested that he pursued Kinangay sa Bulan. He was accepted and
they were married. But later, Humadapnon again pursued Dumalapdap to
leave Kinangay and get another woman because they do not match each
other as the latter is older. However, Dumalapdap did not have the
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heart to leave her because he was already with child. As to whether
Dumalapdap would later be convinces by his older brother and who the
other woman is would be unfolded in this episode.
Nagbuhis/Baruhisan (Book 9), portrays Matan-ayon as thin and
sickly. An obligatory rite is needed to make her well. Matan-ayon
wants her daughter to be initiated as a Dalagangan (a person with
innate supernatural powers) so someone can possess her magical
powers. On the day by the ritual on the beach, Mali, her daughter,
cries bitterly as Humadapnon does not allow to go. She finds out
Humadapnon is courting other women. Mali’s bitter revenge is still
to be revealed in the epic.
Alayaw (Book 10) tells how, Humadapnon is advised by Laon Sina
to plant an Alayaw tree in the yard of Malis’ parents. When the tree
bears sweet smelling flowers Mali will be enticed to come down from
the burukutan (enclosed structure for a well kept maiden) to pick
fallen flowers from the yard, thus Humadapnon could have a glimpse
of a woman he loves. As to how the beauteous Mali will come down
from the burukutan is a most exciting part of the story.
There is not enough time now to discuss some aspects of the
culture of the epic people in the Panay epics. Suffice to say, that
they reflect or closely resemble the family life as well as the
social and political structure of the Panay Bukidnon which is now on
the wane due to education and modernization. Some of this are the
practice of keeping or isolating a beautiful daughter or an only
daughter – the binukot and commanding a high pangayo (bride gift) to
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suitors. In the epic, the gongs, which bear names according to their
characteristic sounds or appearance, are used to call people to the
hungaw (marriage feast). This is still practiced today including the
performance of the lively binanog dance which is also mentioned in
the epics.
It is also interesting to note that, almost all of the epics
reflect a water or a sea setting. It is only Tikum Kadlum (Book I)
where the setting is inland because the activity described is
hunting. Then also, in Amburukay (Book II) the setting which
mentions Amburukay’s search for 6 her lost golden pubic hair shows a
setting by the river bend. The rest of the epic have their setting
in the sea.
In a separate article I wrote, (Sea Episodes and the Boat
Building Traditions of Central Panay, 1996), I posited that the
mountain dwellers are a sea people and their movements to the
interior in search for more kaingin, as well as their utilization of
sources of energy in their environment like the river, enabled them
to engage in boat building until they were prohibited to do so in
the 1980’s due to the ban on logging. Nonetheless, log cutting for
boat building purposes is still being done stealthily and far from
the eyes of authorities.
I would also to mention a few words about the language used
in the epic. It is archaic language (no name given for Ligbok is
only a mountain tonal inflection) with about two thousand words
which are neither Kinaray-a of Hiligaynon. This archaic language
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could be the unifying tongue of the mountain dwellers of the Central
Panay before colonization made an artificial political boundary on
the mountain people. It is closest to Kinaray-a language used by
mono-lingual Antiqueños and by majority of the towns in Iloilo. They
are found in the interior places and those in the southern coast
starting from Iloilo City going down to Antique. At least five towns
of Aklan also speak Kinaray-a including the interior town of Libakao
where epic chanting can also be found. A rich area for epics is of
course interior Tapaz, Capiz and in places adjacent to it like
Calinog, Iloilo and Lambunao.
Conclusion
What is the future of epic chanting today as we face
globalization and the third millennium? In one article I wrote in
1994-1995, I spoke of epic chanting as a waning tradition now on its
twilight, I said so, because the social and cultural setting (e.g.
traditional wedding) in which epic chanting thrives is also fast
disappearing. Young couples would a less expensive civil marriage or
a simple hungaw, the wedding feast where relatives come together for
feasting, binanog dancing, gong beating and storytelling
(sugidanon). There is now at least one transistor radio in the
farthest Bukidnon barangay which entertains them instead of
storytelling. Also, frequent contact with lowlanders and the
presence of a primary school where English and lowland life is
taught which had alienated the Bukidnon from their traditional
culture.
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There is however, a marked changed in the attitude of
mountain dwellers starting from year 2001 up to the present. The
establishment of the School for Living Tradition (SLT) or Balay
Turun-an which, is a house for an informal mode of learning, their
oral literature and the binanog dance has given them a renewed
interest in epic chanting. School children, as well as their
parents, are now feeling a sense of pride in knowing that their
culture is being appreciated and that they can even be compensated
for showcasing it to lowlanders and urban visitors. The Binanog
Festival conducted in Tapaz, Capiz last November 2002, where
financial encouragement in the form of cash prices to the best
performers were given, also widely disseminated the need for
everybody to learn their oral literature.
Lowlanders, referred to a Baludnon by the Bukidnon are now
linked to the global world and mentioned of the Panay epics is made
in the website. Some Filipinos and foreign visitors are now aware of
the rich epics in Central Panay and have contacted the author for
some information about it.
Years later, the mountain dwellers will also know how to use
modern technology through their educated children and will be in
touch with the global world. It is important for them to be 7 braced
culturally so that they will know the importance of their epics and
the need to protect them. I am glad that we have the National
Commission for the Culture and the Arts (NCCA) and sooner, through
this agency, all enactments on culture will be consolidated in one
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single NCCA Bill. It will look after the culture and the arts of
indigenous communities but also of the Filipino people as a whole.
While we need to trace our cultural roots through oral literature
like the epics, I am also glad that through the IPRA (Indigenous
Peoples Rights Act, 1997), there is now a legal mechanism where the
IP Right be now can recognized and protected through the creation of
an NCIP (National Commission for Indigenous Peoples) which
establishes an implementing mechanism for appropriating funds and
for other purposes. _______________
Ballad Music
A ballad is a form of verse, often a narrative set to music.
Ballads derive from the medieval French chanson balladée or
ballade, which were originally "dance songs". Ballads were
particularly characteristic of the popular poetry and song of
Britain and Ireland from the Late Middle Ages until the 19th
century.
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Ballad Artists/Proponents
Marc Velasco
Figure 1.
Marc Velasco
Marc Velasco is a Filipino singer and composer, whose
song "Ordinary Song" became a top hit in 2000.
His Major Works/Songs
-Ordinary Song
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Ymmannuel Demegillo
Figure 2. Ymmannuel
A 21-year-old Ymmanuel Demegillo residing in Santa

Barbara, Iloilo. Ymmanuel is a registered nurse but
still continue to nurture his talent in both singing
and songwriting.
His Major Works/Songs
-Pagpalangga Mo
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Jannabi
Figure 3: Jannabi
Jannabi is a South korea indie rock band that was
formed in 2012 and debuted in 2014 under the
independent record label Peponi Music.
23
Jed Madela
Figure 4: Jed Madela
John Edward Tiña Tajanlangit, professionally known as Jed
Madela, is a Filipino singer, songwriter, TV host,
entertainer and occasional actor. He was the first
Filipino to win the World Championships of Performing
Arts title.
24
Chapter III
METHODOLOGY
Purpose of the Study and Research Method
The purpose of this study is to produce a ballad composition
portraying the love story in Derikaryong Pada.
Research Methodology
This study used Triangulation Process, which involves observation,
interview and documentary analysis or library technique. The researcher
used this process to gather information regarding the study. Observation,
method of Data collection in which the situation of interest is watched and
the relevant facts, actions, and behaviors are recorded.
Interview is a conversation in which one person (the
interviewer) elicits information from another person (the subject or
interviewee). A transcript or account of such conversation is also
called an interview.
Production Process
The following are the steps undertaken by the researcher to come up
with the production or artworks:
- Understanding the story first before choosing a topic to write it
in a song
- citing in other sources to find any related topics that is belong
to the story
- choosing exact song measure or syllables for the song
- writing a poem first for the lyrics
-making a rhyming scheme
- revising the sentences to make it clear
- making the tune for the complete poem of the song
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Time Table
Understanding the Citing in other sources

story first before to find any related
choosing a topic to
topics that is belong to
write it in a song
the story
writing a poem first choosing exact song

for the lyrics measure or syllables for
the song
making a rhyming scheme revising the

sentences to make
it clear
making the tune for

the complete poem of
the song
Figure 4. Time Table of the Production Process
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Figure 5. The researchers writing our chapters 1 to 3 research
study with the help of Ma’am Lysa P. Laza.
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Chapter IV
RESULTS AND DISCUSSIONS
Research Methodology
This study entitled “Padaug-daug” aims to portray the love
triangle story in Derikryong Pada.
Specifically, to gather information about the Story of
Derikaryong Pada and the life of the Characters, write lyrics based
on the gathered informations, experiment the chord progression using
the collected materials such as guitar and music writing book,
create melody from the chords used, defend the art production with
the research panel and art critic and perform the produced
composition in front of the panel and music critic.
In order to achieve the objectives, the researcher immersed
themselves with the documents gathered. Using the triangulation
technique, the researchers analyzed the statement of interviews of
various people, studied the gathered documents and accounts of
writers and bloggers on the life story in Derikaryong Pada.
From these, the idea of creating a song about Matan-ayon was
conceptualized and produced. The song revolved on her great emotions
about her love life.
Production Process
The researchers thought about the love life of Matan-ayon. The
researchers then studied the ballad genre. Wherein ballad style was
used to tell stories like love.
28
It creates a smooth flow of the sound making the love story more
emotional and heartwarming. The researchers talked about Matan-ayon
and the Characters around her.
Analysis and Findings
Desiree Delid and Xiane Lee Tono artwork criteria entitled “Padaug-
daug”
A. Composition P1 P2 P3 Average
1 Structured 4 4 5 4.3
2 Established direction and Progression 5 4 5 4.6
3 Clear and original melody 5 5 5 5
4 Lyrics properly placed (vocal music only) 4 5 5 4.6
5 Melody and style is faithful to title and 5 5 5 5
lyrics
B. Arrangement
1 Appropriate accompaniment 5 5 5 5
2 Enhances theme and melody 4 5 5 4.6
3 Appropriate harmonization 4 5 4 4.3
4 Effective choice of instruments 4 5 4 4.3
5 Clear modulation and condenses 4 4 5 4.3
C. Musicianship
1 Memory 5 4 5 4.6
2 Projection – each part of the music could 5 4 5 4.6
be heard
3 Proper diction – correctly pronounced, 5 4 5 4.6
articulated, enunciated
4 Tone quality - full, rich sound 4 4 4 4
5 Proper breathing – breathed at the right 4 4 4 4
places, the right way
6 Intonation (correct pitch for solos or 4 4 4 4
blends for group)
7 Balance of voices and /or accompaniment – 5 4 3 4
accompaniment added to the beauty, not
overrode
D. Appearance and stage deportment
1 Approach – confident yet with grace and 4 4 4 4

humility
2 Posture – upright look not slumped 5 4 4 4.3
29
3 Eye contact – scanned the audience, not 5 5 5 5

stared
4 Poise – in full control 5 5 5 5
5 Clothing – color coordinated, neat, sharp, 5 5 5 5
beautiful
6 Departure - confident 5 5 5 5
Figure 12. Padaug-daug criteria
Legend
5 – Excellent
4 – Good
3 – Fair
2 – Poor
1 – Needs Improvement
Where: General Improvement Scale

5 - Excellent 4.50-5.00
4 - Good 3.50-4.49
3 - Fair 2.50-3.49
2 - Developing 1.50-2.49
1 - Needs Improvement 0.50-1.49
30
The researcher was given a score of 4.00 for the originality of the
melody. In the uniqueness of rhythm, the researcher was given an
average of 4. In following the correct chord progression, the
researcher was given an average of 5. In correct arrangement
including the mechanics, the researcher was given an average of 4.
In expressing the message expressed with clear lyrics, the
researcher was given an average of 5. In following the
syllabication of the lyrics the way it was spoken, the researcher
was given an average of 5. The last criteria which is following
strict music genre of the composer, the researcher was given an
average of 4.00. The overall average of the researcher is 4.00 which
is equivalent to “Good”.
Impressions
The song was presented to the panel and was given the following
impressions:
Mr. Abraham Donguines, Music Specialist, Teacher and Composer:
1. “Congratulations!”
2. “Correct choice of chord progression and melody.”
Ms. Keziah Faye P. Duhina, Music Specialist, Teacher and Composer:
1. “The song is simple yet heart-warming.”
Chapter V
31
SUMMARY AND CONCLUSION
Summary of the Study
This paper entitled “Kadalag-an” aimed to produce a ballad

song combining major and minor chords and to compose lyrics
portraying the lovelife of Matan-ayon. Through the Triangulation
Technique, i.e. Observation, Interview and Documentary Analysis or
Library Technique, the researcher immersed herself with the
documents about the lovelife of Matan-ayon. A musical composition
was conceptualized and lately evolved into a Ballad Composition.
The song was entitled ”Padaug-daug” written in Filipino or Tagalog

and portrays the love and emotions of Matan-ayon.
The composition was inspired by Marc Velasco, Ymmanuel Demegillo,

Jed Madela and Jannabi whose works became the source of information
in the creation of the song in line with the lovelife of Matan-ayon.
Conclusion
This study entitled “Kadalag-an” aims to produce a song

portraying the lovelife of Matan-ayon. From these objectives and
with the impressions of the panelists, the following are the
conclusions surmised:
1. A Ballad composition as another genre of music can tell

stories that often tackle themes like lost love,it can be dramatic
or romantic.
2. Filipino or Tagalog as a language used expressed better the

emotion and love of Matan-ayon.
Recommendation
The researcher would like to recommend to the future researchers or

incoming music major students to compose a Ballad song combining
major and minor chords using different themes.
References
32
Ang mga Pilipino sa Ating Kasaysayan. (n.d.). Western Visaya

Philippines Unsung Heroes.
Retrieved from MSC Communications Technologies, Inc.:
http://www.msc.edu.ph/centennial/hero/wv/page8.html
https://en.wikipedia.org/wiki/Ballad
Hornby, A. S. (1987). Oxford Advanced Learner's Dictionary of

Current English.
London: Oxford University Press 1974.
Ito, L. (2017, October 17). Rock Drilon’s ‘Homecoming: Works from

Dumangas’ is
both familiar and fresh. Retrieved from Philippine Daily Inquirer:
https://lifestyle.inquirer.net/tag/rock-drilon/
LegendHarry. (2018). Santa barbara church aand the cry of iloilo

revolution.
Retrieved from http://harrybalais.com/2013/09/santa-barbara-church-

and-the-
cry-of-iloilo-revolution/
Webster,Noah,Meriam Webster.Sringfield,Massachuetts:G and C Meriam

company, 1831.
Appendix A
The Creative Production Process
33
Immersion
(Observation, Interview, Documentary Analysis)
Conceptualization of Production
Formulation of Formulation of Definition of

Objectives Assumptions Terminologies
Creation of Production
Presentation of the Art Critic and

Research Panel (Oral Defense)
Evaluation and Critiquing
Presentation of Art Production in a

Recital
Writing of Impressions
Preparation and Writing of the Production Report
Appendix B
Creative Production Documentation
34
“Padaug-daug”
VERSE 1:
F C Bb
SA PAG-UMPISA SINING ATON KINABUHI
F C Bb
GINTAGNA NGA MANGIN KITA SA ULIHI
F C Bb
ANG SIMBOLO SA PROMISA NGA INI
F C Bb
MEDALYANG BULAWAN UNA NGA NANGIN SAKSI
CHORUS:
F C Bb
INDI MAKA-ANGAN SA UNANG KAKITA
F C Bb
ANG NANGALUYAG UKON ANG NATALANA
F C Bb
SA PADAUG-DAUG NA LANG IPADALA
F C Bb
ANG TAGIPSUON KO PARA SA IYA
VERSE 2:
F C Bb
ISA KA TAWO SA AKON NALAUMAN
F C Bb
SUBONG KO LANG INI NATALUPANGDAN
F C Bb
INDI MAHIM-OS ANG AKON NABATYAGAN
F C Bb
KUNG IKAW SA’KON NAGAKADAPAT GID MAN
BRIDGE:
Dm Bb F C
HAMILING SAKAYAN INDI NA MAKIT-AN
Dm Bb F C
NAGKABALAKA ANG TANAN SA NABAL-AN
Dm Bb F C
SIN-O MAN MAKABALIK SANG SINING SAKAYAN
Dm Bb F C
NALAUMAN NGA AKON KA PAKASLAN
Appendix C
Artist’s Biography
35
Name: Desiree D. Delid
Address: P.D. Monfort North Dumangas Iloilo
Date of Birth: November 25, 2006
Parents:
Father: Enrique M. Delid Mother: Roselyn Delid
Occupation: Mechanic Occupation: Housewife
Sibling: Jorose Gladwin Delid Yayen Delid
Educational Background
Level School Attended Year
Kinder LubLub Baptist Academy 2013 - 2016
Elementary PDMNCES 2016 - 2019
High School Dumangas National High School 2019 - 2023
Artist’s Dream
To be a Pastry Chef someday.
36
Artist’s Biography
Name: Xiane Tono
Address: Tambobo, Dumangas Iloilo
Date of Birth: September 21, 2005
Parents:
Mother: Joy Cuenca Docdocil Tono Occupation: Nurse
Father: Leo John Tono Occupation: Driver
Siblings: Xelan lord Tono Xyon Lucas Tono
Educational Background
Level School Attended Year
Kinder DDFCA 2010-2011
Elementary NKPIS 2013-2017
High School Dumangas National High School 2022-2023
Artist’s Dream
To become a well known Physician.
37
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Dumangas National High School

SPECIAL PROGRAM IN THE ARTS

INTRODUCTION OF THE STUDY

Background of the Study

A group of people known as Panay Bukidnon live in highland

settlements in all four provinces of Panay Island, in the

Philippines, and engage in swidden cultivation. Epic chanting known

collectively as Sugidanon is one marker of ethnolinguistic

distinction that separates them from lowland populations due in part

to use of an “archaic Kinaray-a” or binukidnon lexicon and the

perception that chanting is a timeless ethnic tradition. Since the

1960s, several Filipino anthropologists have demonstrated a keen

interest in the narratives, collecting and publishing them for

academic and public consumption. Additionally, chants are currently

taught to Panay Bukidnon children in anethnopedagogy program known

variously as the Balay Turun-an, School of Living Tradition (SLT),

or GAMABA Training Center.

Sugidanon or Epic Chanting has long been a popular method of taking

a leisurely stroll through the most remote communities of the rugged

Central Panay. With the introduction of transistor radios in the

1970s and their exposure to contemporary audio technologies, in a

lowland area. introduction of public education and Christianity led

much to its collapse because babaylan, who were chanters, The

majority of ex-binukot (kept maiden) were deterred from continuing

Inspired by the story in the Epic of Sugidanon the researchers

wished to create a Ballad composition artwork performing the song

about Derikaryong Pada Story.

This study uses the scheme of Creative Research proposed by

Dr. Evelyn Sorolla (2012). According to her, “Creative Research

method is used for production of creative outputs of artwork using

Input-Process-Output-Evaluation processes validated through

The study rests on the assumptions that:

A ballad composition is a song in poem form in which the

lyrics are plot driven. It can either be dramatic, funny, or

Hiligaynon was the language used to better express the emotion

involved in the Triangle-love story of Derikaryong Pada.

INPUT PROCESS OUTPUT

Research Input Research Method “PADAUG-DAUG: A

Purpose of The Study

This study will be conducted in order to create

Specifically, this study aims to:

1. To highlight the struggle of their love

2. Write lyrics based on the gathered informations.

3. To depict the adventure of retrieving the sailboat through a

4. To create a song using two or more genres

6. Perform the produced composition in front of the panel and

Significance of the Study

The results of this study may hopefully benefit the following

Amateur Singers/Musicians, this study may help them to create

a song related to the story of Derikaryong Pada.

Teachers, this study may provide them resources for teaching.

Aspiring singers /composers, this study may help them compose

a song combining major and minor chords.

Music Majors, this study may encourage them to create a song

using a ballad genre.

And lastly to future researchers, the result of this research

may serve as a reference for their future studies.

To Facilitate understanding of the study, the following key

terms were defined conceptually and operationally:

Views: To think about (someone or something) in a particular

Kadalag-an: It means “victory’’ and it symbolizes the triumph

of a municipality that turned into a city, against the adversities

Scope and Delimitation

This study aims to compose a ballad song combining major and